S5 E2 According to Harpy
by Harpy101
Summary: Action in italics. Almost everybody in it but Isobel. She will be in next E3 according to me.


SERVANT'S HALLWAY, EARLY MORNING

_Jimmy & Thomas step out of their rooms and into the hallway_  
_at the same time, both in undershirts and with towels._

JIMMY  
You go first.

THOMAS  
I was going to slip these under  
your door.

_Hands Jimmy a packet of cigarettes._

JIMMY  
What for?

THOMAS  
I was in the village yesterday and  
I got you a packet of cigarettes when  
I got mine.

JIMMY  
Wait. I'll get your money.

THOMAS  
I don't need your money. We're  
friends, aren't we? I just got you  
a packet of cigarettes.

(BEAT)

JIMMY  
What do you want?

THOMAS  
I can't do a favor for a friend  
without-

JIMMY  
(Interrupts him) No.

THOMAS  
(Shrugs) Well, I did.

_Thomas gives Jimmy a look and continues down the hallway. He_  
_stops and looks back, keeping his voice very low._

THOMAS (CONT'D)  
I'm not courting you, if that's  
what you're afraid of.

_He turns and walks away._

(BEAT)

JIMMY  
No. I'm not afraid of that.

COTTAGE. MORNING.

_A small basket full of medicine bottles, a book and other_  
_items is set on the edge of a desk, next to sheets of figures_  
_and several newspapers and other periodicals._

BATES

_Smiles up at his wife_.

ANNA  
You're up early. Doing more  
figures?

BATES  
If we keep saving as we are, we'll  
be ready to buy in three or four  
years.

_She is putting on her coat._

ANNA  
That will go by quickly.

BATES  
I want to be able to move when a  
good property opens locally. It  
may take months to renovate,  
depending. When we're ready we can  
give several months notice, train  
our replacements and - go into  
business.

_They take a moment to smile at each other. They are both_  
_excited, but also not quite ready._

BATES (CONT'D)  
We'll need our own decent-sized  
quarters as well, for when-

(Silence)

ANNA  
(Is sober, perhaps even a  
bit sad.)  
For IF-

BATES  
If. When. It doesn't matter.

_Pulls her onto his lap._

BATES (CONT'D)  
Are you off to the village now?

ANNA  
(LAUGHS)  
Stop that! I'll wrinkle!

_He releases her. She begins to pin on her hat._

ANNA (CONT'D)  
You're lovely about my friendship  
with Mrs. Wright. She's not well  
lately. I'm meeting Dr. Clarkson at  
her house this morning.

BATES  
I've seen what the visits do for  
you. I'd move her into the cottage  
next door if you wanted.

_He puts down his pen, thoughtfully._

She's charming, but there's a sense  
of the grand lady about her at  
times, as well. The family must  
have had a title or been of means  
at one time.

ANNA  
I've wondered that, too. But of  
course it doesn't matter. She's  
the kindest of friends. I'll see  
you at breakfast.

_Kisses him. She pulls back, he pulls her in again for_  
_another. She pulls back, but then she goes in for one more_  
_kiss. She smiles and is off with her basket._

MORNING. BREAKFAST TABLE UPSTAIRS. ONLY EDITH AND TOM ARE  
PRESENT.

_They speak softly. Tom is keeping an eye on the door._

TOM  
We'll be on a different side of the  
estate all next week, so it may be  
a good week for your-visits.

EDITH  
Thank you.

TOM  
But if you want my opinion-

EDITH  
I suppose it comes with the  
alliance, yes.

TOM  
She belongs at the estate with her  
cousins. She should be a part of  
this family, not an outsider.

EDITH  
Tom, am I treated like a member of  
this family?

TOM

_Just looks at her._

EDITH  
How could I allow a child to be  
treated the way I'm treated here?  
Can you imagine, growing up with  
George always lording over her?

TOM  
He won't-we won't allow him to act-

EDITH  
Mary will. She'll insist on it.

TOM  
Sybil is the daughter of a  
chauffeur, and she is given every-

EDITH  
But my little sister is dead. Her  
daughter is the only way we have to  
love her. So she'll always be  
loved. But MY child? My-bastard  
daughter by a man my father scoffed  
at? She'll be lucky if they don't  
have her scrubbing the floors, or  
feeling as if she should BE  
scrubbing the floors. I won't,  
Tom. And I'm still counting on  
your discretion.

TOM  
I don't break promises. I won't  
ever say. But I wish there was a  
way they could all grow up  
together. They might all need each  
other.

EDITH  
What my daughter needs is to grow  
up among loving people who accept  
her and respect her.

TOM  
I won't argue with that. But I  
hope there may be some  
reconciliation at some point, is  
all.

EDITH  
Keep hoping, Tom. I've hoped for  
that my whole life.

COURTYARD, AFTER BREAKFAST. BAXTER and MOSELY ARE SMOKING  
BEHIND A WALL AND SPEAKING QUIETLY.

BAXTER  
I wanted to talk to you.

MOSELY  
Of course.  
(babbling)  
When you want to talk, I'm always  
here to listen. You know, as a good  
husband would. (He blushes.) I  
mean, and I would. Of course I  
mean as a good MAN would. As I  
would.

BAXTER  
I want to say first that, if this  
changes your feelings about me,  
then I won't blame you at all. And  
I will understand if our-friendship  
changes for you. I won't hold it  
against you or resent it. I will  
respect it.

_She pauses nervously. She looks around them, then continues._

BAXTER (CONT'D)  
I had a child out of wedlock, when  
I was young. The father-

MOSELY  
Yes?

BAXTER  
He-was a Lord.

MOSELY  
And he broke your heart?

BAXTER  
No. I didn't love him. It nearly  
broke my spirit, though. I-I was  
not willing.

MOSELY.  
Oh-I-Oh.

BAXTER  
He was taken-adopted by a member of  
that family. So, if you-I will  
understand if-

_He shyly takes her hand, just for a moment. She smiles._

MOSELY  
And you were married, for a time,  
after that?

BAXTER  
Yes. My husband was killed in the  
war. We had no children.

MOSELY  
I see.  
(Tries to be casual.)  
And what-what is your view on  
marriage now?

BAXTER  
I think it is a good thing. As  
long as there is honesty. And  
respect.

MOSELY  
I couldn't agree more.

WALKING THE FARMS ON THE ESTATE. DAY. TOM AND ROBERT.

ROBERT  
You seem convinced we are on the  
correct path. I sometimes worry  
about the force of Mary's  
personality in all of this.

Tom  
It might end up being the force  
that saves the estate. I'd bank on  
that.

ROBERT  
She can be very persuasive when  
she's set her sights on something.

Tom  
I'll bet she was a strong-willed  
child.

ROBERT  
The strongest. The most stubborn.  
A certain doll, a certain frock,  
nothing else would-

Tom  
Don't mistake all this for girlish  
whimsy. Mary knows what she wants  
and she will get it done. I just  
want to do right by her.

ROBERT  
Do right by Mary?

TOM  
Don't you trust her?

ROBERT  
I've more reason perhaps than you.  
Why did you believe in her so  
absolutely from the start?

TOM  
I hope you'll take no offense at  
this, but in a certain way she  
reminds me of Irish women.

ROBERT  
(Has no idea how to reply to this)

TOM  
You don't get between an Irish  
woman and her home and brood.  
You're better off throwing rocks at  
a bear.

THE DOWAGER'S HOUSE. DAY. AT TABLE FOR LUNCH.

ROSE  
I've decided I want to attend  
University.

_Violet and Cora put down their cups and stare._

VIOLET  
University?

ROSE  
Many girls are doing it now. They  
have classes specifically for women  
at Oxford. My friend Erma attends,  
and she's invited me to visit. I  
could observe a class to two.  
They've been allowing that for  
years and years now-

VIOLET  
Intellect creates frown lines and  
premature cataracts. It's the  
furthest thing from feminine.

ROSE  
But-

VIOLET  
It's out of the question. A lady's  
education should be firmly in place  
before anyone tries to fill her  
head with intellectual ideas. You  
don't want to be an academic, my  
dear. They're a duller species  
even than the professions.

ROSE  
Might I simply-observe some  
classes, then? Go for a short  
visit? Before it all begins?  
Please?

VIOLET  
Why would you want to waste your  
youth in such a world? Marry  
someone suitable-

ROSE  
Once I'm married my youth is gone!

CORA  
Oh, nonsense! That's when your  
life really begins.  
You'll have distractions. Parties.  
A household to set up. You might  
travel-

ROSE  
I'm not ready to be a married woman  
yet!

CORA  
No one thinks she's ready. But  
trust me, you are. It's best.

COURTYARD. DAY. MOSELY & BAXTER ARE WALKING SLOWLY TOWARD  
THE SERVANT'S DOOR, THEIR VOICES LOW.

MOSELY  
So I hope I'm not wrong to ask-

BAXTER  
Please do. I want you to.

MOSELY  
Is that all? I mean, a child out  
of wedlock, especially when you  
were so young-

BAXTER  
I can't ever reveal who the child  
is. Even to you. I hope you  
understand that.

MOSELY  
I do-but did you never, for  
example, steal from an employer or  
try to force yourself on another  
servant?

_They exchange a knowing look. Baxter laughs._

BAXTER  
No.

MOSELY  
It's not as if he can hurt you,  
then.

BAXTER  
That depends on Her Ladyship. She  
does favor him. I told him to do  
his worst. I suppose-I got tired  
of it. Of keeping the secret. Of  
him using it on me, trying to get  
me to spy on people.  
I have broken the deal. He'll tell  
her now. But I don't know when  
he'll pick his moment.

MOSELY  
Well, he won't be the only one  
talking. I hope you will excuse  
me. I'll see you soon.

_They enter the servant's hall and go their separate ways._  
_Mosely sees Bates in the hallway and hails him with a look._

OFFICES OF THE SKETCH, LONDON. DAY.

EDITH  
Who has set up in Mr. Gregson's  
office?

BLAKE  
That's Reginald Anderson, My Lady.  
He's taken over the job of managing  
editor, as I said in my letters.

EDITH  
Yes, but I didn't realize-

ANDERSON  
Lady Crawley, how lovely to see  
you.

EDITH  
Yes. Thank you.

ANDERSON  
Won't you come have a seat in the  
board room?

EDITH  
Where are the staff?

BLAKE  
Why, working My Lady! (Blake and  
Anderson chuckle indulgently)

_They move into the board room. A tea tray waits on the long_  
_table._

ANDERSON  
I wanted to say, Lady Crawley, that  
we are happy to accommodate a  
regular visit.

_Edith pauses to eye him._

EDITH  
Oh, really?

ANDERSON  
Of course, we'll have the proper  
scones delivered and give you a  
regular presentation. We are  
prepared to do so. But remember  
this is a newspaper, and we don't  
stop down often.

EDITH  
I'm not asking you to stop down.  
Far from it.

ANDERSON  
Good, good. As a - friend - of Mr.  
Gregson you understand the pace we  
work at. But we're happy to  
welcome you and give you regular  
reports.

EDITH  
You're welcoming me? As I  
explained in my correspondence I've  
been given power of attorney. The  
Sketch is now mine.

ANDERSON  
Of course, My Lady, of course. And  
we will do all we can to  
accommodate you.

EDITH  
I'm glad to hear it, Mr. Anderson.  
You will move out of Mr. Gregson's  
office at once into your old  
office, or whatever is most  
convenient.

ANDERSON  
I beg your pardon?

EDITH  
At once. I intend to-supervise the  
Sketch. I will be-supervising  
editor.

BLAKE  
Supervise? But - You only wrote  
features for a time before-

EDITH  
Yes, I'm aware of my history with  
the paper and you are all aware of  
my friendship with Mr. Gregson. But  
I will not be a visiting dignitary.  
I'm moving to London and I will be  
a full-time supervisor of this  
staff and this newspaper.

ANDERSON  
What can you possibly know about-

EDITH  
Mr. Anderson, if you wish to retain  
your position please move your  
office immediately. I will be in  
first thing tomorrow morning and I  
want it done. Are there any  
questions?

_Stunned silence._

EDITH (CONT'D)  
Good.

KITCHEN. DAY. DAISY, JIMMY.

_Daisy is packing two crates with jars._

DAISY  
Do you miss Ivy?

JIMMY  
Why would I miss Ivy?

DAISY  
Have you no heart for anyone?

JIMMY  
It's hard enough looking after  
myself.

_Thomas walks into the kitchen, stopping._

THOMAS  
What are we talking about?

DAISY  
Ivy. Gone to America.

THOMAS  
Ah, yes. I barely noticed.

DAISY  
Men. You're all about yourselves.  
It's a wonder you even see other  
people at all.

JIMMY  
Sounds as if you might be the one  
missing Ivy, Daisy.

DAISY  
Don't be daft. She was a decent  
cook, is all.

_Patmore enters._

PATMORE  
Now, Daisy, you've checked the  
stores and the lists again?

DAISY  
Yes, Mrs. Patmore. We're ready.  
It will be fine.

_Thomas is listening openly._

PATMORE  
What's all this to you?

THOMAS  
I am under butler, Mrs. Patmore.  
Everything that goes on in this  
house concerns me.

PATMORE  
Concern, is it? I've got other  
names for it.

JIMMY  
And we'd almost forgotten your job  
title. Thanks for the reminder.

THOMAS  
The right friends can make all the  
difference.

HALLWAY. BATES AND ANNA OUTSIDE THE BOOT ROOM.

BATES  
He will try to ruin her reputation.  
It's what he does.

ANNA  
What are you thinking of?

(Beat)

ANNA (CONT'D)  
Nothing foolish. You have that  
look.

BATES  
What loo-

ANNA  
The one you get before something  
happens. Sometimes good and  
sometimes not.

BATES  
I'll just have a talk with him.

ANNA  
And what happened the last time you  
had a talk with Thomas?

BATES  
It isn't right. She may have a  
past of some sort but she can't  
deserve the kind of destruction  
he's likely planning.

ANNA  
Sir Galahad. You don't have to  
right every injustice in the world.

BATES  
(Smiles)  
That's rich. You can't bear them  
any better than I.

ANNA  
I don't-I don't want you to get  
into any more trouble. Ever.  
Again.

BATES  
I promise.

AFTERNOON, MASON FARMHOUSE KITCHEN.

_Daisy is unloading jams and jellies from crates onto the_  
_table. Mr. Mason is looking at them._

DAISY  
Sorry to just drop these off and  
run back. But I've got dinner to  
make.

MASON  
These are nice to look at, Daisy.  
Looks at market is as important as  
the flavor. They'll buy for the  
color and come back for the taste.  
I'll bring your money to the house  
next week.

DAISY  
Anna's going to teach me more  
stitches so I can make covers for  
them, or just add a ribbon.  
Something to make them stand out.

MASON  
I don't mind saying now, I'm glad  
you didn't go to America. Would  
have been a nice adventure, but-

DAISY  
No, I didn't want to go. I thought  
about you, and the farm.

MASON  
In just a few years, Daisy, I'll be  
getting on-

DAISY  
I know. And-I think I do want to  
be here. I want to take care of  
you then.

MASON  
That's nothing for a young lady to  
do! You ought to be allowing the  
young lads to bring you posies and  
handing them back heartbreaks.

DAISY  
I don't know about young men just  
now. But I would like to look  
after you, and learn to run the  
farm. I would. But I don't know  
as I'm ready yet.

MASON  
I've got a few strong years left.

DAISY  
You have. But it would be nice to  
know you have someone. And I want  
to be that someone.

EVENING. ROSEMUND'S HOUSE IN LONDON. ROSEMUND AND EDITH IN  
THE PARLOUR.

ROSEMUND  
How did it go?

EDITH  
It is the strangest thing to hear  
another person's voice coming out  
of your own mouth. The very person  
you like the least in the world.  
But oddly exhilarating at the same  
time. I told them I mean to be  
supervising editor. I'm setting up  
my office tomorrow.

ROSAMUND  
Was that wise, my dear? To push in  
like that?

EDITH  
I'm not pushing. Michael trusted  
me to do it. I've decided to move  
to London. I'll find a small house  
and then I can have Corinne with  
me.

ROSAMUND  
The baby here? But how will you-

EDITH  
No one will visit me. And if they  
do-I'll have a nanny, of course. I  
can't sneak around on the estate  
anymore like a criminal and I won't  
be kept from her. I'm her mother.

ROSAMUND  
Well, you can stay here while you  
set up. But raise a child alone in  
London? And run a newspaper? I  
wonder at your sanity, my dear.

EDITH  
I'm going to do it. For once in my  
life I will HAVE a life. One  
that's entirely mine.

SERVANT'S QUARTERS HALLWAY. EARLY EVENING. BATES APPROACHES  
THOMAS, WHO IS READYING TO GO DOWN TO SERVE DINNER.

BATES  
Mr. Barrow. A word.

THOMAS  
What is it, Mr. Bates?

BATES  
Her Ladyship has been protected  
from certain information about you,  
and that can change.

THOMAS  
I'm sure I don't know what you  
mean, but I don't appreciate the  
insinuation.

BATES  
_Closes in on him._

Leave Miss Baxter alone.

THOMAS  
You going to beat me up again, Mr.  
Bates?

BATES  
You're finished with Miss Baxter.  
As of now.

THOMAS  
She's nothing to me.

BATES  
Because you've got more up your  
sleeve?

THOMAS  
Doesn't a rat always?

BATES  
A rat always has schemes. But a  
rat can only run on the floor.

THOMAS  
Some of them climb, Mr. Bates.  
Some rats are brilliant climbers.

EARLY EVENING. CARSON'S OFFICE.

HUGHES

_Is laying papers on his desk._

We're leaving day after tomorrow  
and all is set. Here are the lists  
for-

CARSON  
I must speak with you.

_Mrs. Hughes stops to look at him._

CARSON (CONT'D)  
I feel that our-friendship has  
happened upon some-uncertain ground  
and I feel that we should keep our  
relationship strictly professional.

HUGHES  
Alright. Now, I will pass the house  
keys on to Anna Saturday afternoon  
before we leave, and she will be in  
charge until we're back after  
breakfast Sunday morning-

CARSON  
(This was far too easy for  
his taste.)  
I hold you in very high regard.  
It's nothing to do with that.  
Nothing at all to do with-

HUGHES  
Yes, I understand. Now here is the  
list of what we ordered this month  
in case you'll want to check the  
store room, but it won't be  
necessary, since-

CARSON  
It's professionalism! Surely you  
can see that.

HUGHES  
I surely can and I agree. Now,  
we've all prepared as much as  
possible. I'll leave you to get  
ready for the gong.

_Carson watches her walk out of his office._

MARY'S BEDROOM. MARY SITS AT HER DRESSER. ANNA IS BUSY WITH  
SHOES, ETC.

MARY  
How is your friend in the village?

ANNA  
Mrs. Wright is ailing, I'm afraid.

MARY  
You're kind to care for her. Does  
she have no family?

ANNA  
Only her son, and he is in America.  
His wife is not well, and Mrs.  
Wright wants him to stay there and  
care for her. I feel for the son.  
He's caught between the devil and  
the deep blue sea.

_Anna is putting a necklace on Lady Mary._

ANNA (CONT'D)  
And speaking of being caught  
between-

MARY  
It's not that I want to languish  
among my champions. But I have to  
be sure. We're at such a critical  
stage right now developing the rest  
of the estate and Papa thinks I'm  
unqualified. My champion must be on  
my side, yet be able to convince  
Papa of the best course.

ANNA  
These are interesting times to be a  
woman. And to be running an estate.

MARY  
A bit too interesting for most  
men.

_Watches Anna in the mirror for a moment._

MARY (CONT'D)  
I've every confidence in you. I  
wanted to say. When you run the  
house on Saturday. I know you'll  
be a great success.

ANNA  
It will be just a normal day and a  
normal night. Just the family.  
I'm excited, really.

MRS. HUGHES' OFFICE. SHORTLY BEFORE DINNER.

PATMORE  
Have you got a moment?

HUGHES  
I have. Just.

PATMORE  
I've decided to wear the new skirt  
for the show.

HUGHES  
But not the new shoes? It's quite  
a way from the hotel to the  
theater.

PATMORE  
No, just my good ones. You?

HUGHES  
Same.

_Looks toward the door._

And I may even wear my mother's pearl  
earrings. When do I get to do  
that?

PATMORE  
That's what this is all about.

HUGHES  
He's not in London for this one, is  
he?

PATMORE  
No, he's so American these days. I  
don't think he's been back here in  
years.

HUGHES  
Well, after "Blood and Sand", he's  
really being taken seriously now.  
Around the world.

PATMORE  
Oh! I love the title of this one.  
"The Sainted Devil"! Isn't he  
just!

HUGHES  
I wonder if there will be a song  
and dance first. I don't mind a  
play, but I like it when the short  
features are different from the  
film.

PATMORE  
And I hope it's a really good  
pianist. I hate it when you get  
the feeling that pianist would  
rather be elsewhere. You can tell.  
It's in the feeling when they play.

DAISY  
(Pokes her head in) Forgive me  
Mrs. Hughes. Mrs. Patmore, did you  
want the plain Hollandaise with the  
fish tonight? Or the tarragon?

PATMORE  
Oh! You're right. No tarragon!  
It's in the chicken pie.

(To Hughes) Are you packed?

HUGHES  
Just begun.

PATMORE

_Leaving the office._

We need to be ready-for him!

HUGHES

_Shushes her, smiling as she makes down the hall._

ROBERT AND CORA'S BEDROOM SHORTLY BEFORE DINNER.

ROBERT  
I'm going to need your help.

CORA  
Of course.

ROBERT  
I'm not sure how to-work with Mary.  
I believe Tom is right. When I  
look at her I see the little girl  
who demanded she touch nothing but  
silk and eat nothing but sweets.

CORA  
A very long three days.

ROBERT  
When she looks at me and makes her  
demands-

CORA  
Does she make demands? Of you?

ROBERT  
It somehow feels as if they ARE  
demands. She's constantly at me to  
change my mind, it seems. And when  
she's doing that, all I can see is  
my regal and demanding child.

CORA  
Perhaps-you haven't yet met the  
woman you are talking to.

ROBERT  
What can you mean?

CORA  
Mary has changed far more than just  
growing from a girl into a woman.  
She's a woman who has had  
experiences you and I haven't.  
She's in a position that you and I  
have never been in. I've never had  
to run an estate and you are not  
woman in that position. We still  
have each other. She is alone in a  
way you and I have never been. She  
has become a person that we don't  
entirely know anymore. Perhaps you  
could spend more time with her.  
Ask her what she's thinking.  
She has always been a challenge.  
But she is someone we love.

ROBERT  
Well, of course.

CORA  
Perhaps now you might find out that  
she's someone you like in a new  
way. Or at least respect.

UPSTAIRS HALLWAY. EVENING.

BATES  
I've spoken to Thomas. But he is  
plotting something else.

ANNA  
Well, we'll keep an eye on him. He  
won't get one over.

BATES  
Not if you and I put our heads  
together on it.

ANNA  
That usually works best.

BATES  
You're the brains. I'm the muscle.

ANNA  
You've got your own brains.

_She turns to walk away then stops and looks back at him._

ANNA (CONT'D)  
But I won't deny the other point.

_They exchange a smile, and something more. Anna continues_  
_down the hall, with Bates smiling after her._

END

CREDITS.


End file.
